Swift Releases ANOTHER Unannounced Album in 2020 - Evermore (Album Review)

Artist: Taylor Swift

Release Date: 11th December 2020

Record Label: Republic 

"I wouldn’t say Evermore was her best album produced, nor would I say that both Evermore and Folklore are her best pieces of work to date, because they simply aren’t."

As if one surprise Taylor Swift album wasn’t enough for 2020, she brings out another! A sister album. Having released the intimate Folklore back in July, she has blessed us with another album in the December, called Evermore. The same people who were involved with the Folklore album have also worked on this project too, such as American indie acts, The National and Bon Iver - which is what makes this album the sister album - very alike with the same roots but one appears to be more mature than the other - that latter being Folklore. 

When it comes to campaigning the album; instead of some big publicity stunt, or a her usual meticulously planned album launch, she instead dropped both albums unexpectedly - with no warning and with less than 24 hours notice. However, with fans like Swifties, the album was sure to be a sell out even without the publicity campaign.

Evermore is an ocean of metaphors, built up on the experience of the past seven albums, including influences from her past self. Metaphorically laced ‘Ivy’ depicts somebody’s shame at falling in love with another despite being married, inciting powerful metaphors: “I can’t stop you putting roots in my dreamland, my house of stone, your ivy grows and now I’m covered in you”. I wouldn’t go as far to say Swift has pushed the boundaries for indie reinvention but I’d definitely say she’s pushed the boundaries for herself. Evermore is an inspired concoction of influences from her previous pieces of work, for example you hear bits of 1989 and RED influences in songs like ‘Tolerate it (E)’, ‘Gold Rush’ and ‘Long Story Short’ which harbour that folklorian sound with a hint of the ‘80s-inspired synth-pop that endured through her 2014, ‘1989’ album.

Opening track love song,‘Willow’ is one of the catchy standouts off the album, with it’s ringing chorus - “ I’m begging for you to take my hand, wreck my plans, that’s my man”. Another catchy favourite would have to be 'Long Story Short' too. Amongst the album standouts is also, ’No Body, No Crime’ ft HAIM. It’s a third person country murder mystery revenge story about a woman who finds out her husband is having an affair, and she meets her friend and tells them she thinks he’s been unfaithful due to cheques and receipts she’s picked up on clues. She can’t prove he’s had an affair so (presumably) she kills him and the police later think she killed him but can’t prove it. “I think he did it but I just can’t prove it”/ “they think she did it but they just can’t prove it.” An emphasis on the repetition later on down in the track to reiterate the meaning behind the story being told throughout the song.

However the whole album isn’t fictional, there are some true personal moments, too – see ‘Marjorie’, a song about Swift’s opera singing grandmother Marjorie Finlay, and the wisdom she handed down to her. “Never be so kind you forget to be clever. Never be so clever you forget to be kind.” Lyrically this is one of my favourite songs off this album, purely because of how close to home it hits. The meaning and sentiment behind it is just so precious, “Never be so polite you forget your power, never wield such power you forget to be polite.” Some real life lessons there taught by Aunt Marj - RIP.

‘Coney Island’ ft The National I found to be a complimentary duet, however the duet with Bon Iver on closing title track ‘Evermore’ I think isn’t as flattering. I find the stark contrast between Bon Iver and Taylor Swift’s voice doesn’t compliment one another as well in this track as I’d have hoped - especially considering how much I rate their duet of ‘Exile’ off the Folklore album. 'Evermore' is a comforting track about the uncertainties that presented themselves in the midst of Covid, “Grey November, I’ve been down since July” but the song ends on a high note assuring that the pain won’t last forever,  “And I couldn’t be sure, I had a feeling so peculiar that this pain wouldn’t be for evermore.” Ending on an uplifting note as we see positivity and a light ahead amidst the covid control and a possibility we will get out of this mess.

I wouldn’t say Evermore was her best album produced, nor would I say that both Evermore and Folklore are her best pieces of work to date, because they simply aren’t. Both of these albums seemed rather experimental to me, as they’re obviously quite different to both her older and more recent work. Lyrically, the songs execute wonderful narratives and the songwriting on both of the albums is some of the best work Swift has done. The Evermore album is more about the songwriting than the songs themselves. Taylor has moved from country, to pop, and now she’s finding her country roots and combining them with indie-folk to create more focus on the lyrics than on the tune itself. A great example of this would be the HAIM feature - ‘No Body, No Crime'. However, this album definitly isn't BAD and I guess you can still call me ... a Swifty.

8/10

Interview with Sean Simmons as he Releases Last Solo EP (and it’s acoustic!)

 

Coming from Greenwich, South East London is singer/songwriter Sean Simmons.

Reaching number 8 in the singer/songwriter charts was ‘Don’t 079 Me’ which surprisingly, Simmons dislikes. The new EP to be brought out will be called ‘1992’ after his birth year and will contain five acoustic tracks; three which have already been released, and two which are completely unheard demos.

However, this EP isn’t a step into an acoustic career, this is a sign off from a solo career as Simmons has started a new project called ‘Simmons and the Stags’, which will moving away from the solo side of things into rocking out with a band. The move is a bold one but Simmons thinks it’s also the right one, plus, he wants to get playing festivals and he thinks bands stand more of a chance than solo artists. Moving from solo to band, you think perhaps it’s going to be the classic frontman with an instrument band but Simmons has aspirations for this to really have a family vibe. Not any Bruno Mars - look like a solo artist - but you’re not bollox. Yes, that’s right - Bruno Mars (and the Hooligans) is actually a band - not just a person.

Being one of ten, and the youngest of the ten, Simmons knows exactly what it’s like to constantly have a big family around you, and I feel as though going in the direction of working in a band can help reignite your confidence knowing you have other people to rely on and work with, but of course this can always go two ways. Simmons is a one-man band to some extent; he’s a talented multi instrumentalist who can play; the guitar, bass, piano and ukulele. All of the instruments on the EP have been played by Simmons and it’s all been produced and promoted by Simmons - completely DIY style - one of his favourite things about this EP (that it’s all DIY).

The inspiration behind the tracks varies and so does the style. The EP aims to explore the stripped back version of his music, which is why he’s made the EP acoustic. The tracklist goes as followed; 1. Hollywood Smile, 2. It’s Over, 3. Loveable, 4. Fairytales and 5. Shine For You. The guitar in Shine For You is the only time Simmons doesn’t play an instrument in the whole EP - every other time - everything you’re listening to is Simmons. Track 5. Shine For You was actually considered to be a song for The Stags, as guitarist of The Stags, Tom Parry, played on this track. 

When asked why he wanted to release the EP, Simmons answer was fairly simple, “I just wanted to release something!” Plus he wanted to release a piece of work before he started fully in the band and could leave his solo career on a high note. Within the band Simmons will be lead singer and multi instrumentalist, but mainly vocals. 

Moving from solo to band can be quite a change though as Simmons says, “All of it is DIY. No marketing or production done by anybody else, this is a complete Sean Simmons. If it does well - I’ll take all of the credit and if it doesn’t do well - I’ll learn from it.” There’s only one person to rely on when you’re a DIY solo artist, but things can be a lot more different in bands - the possibility of more exposure is there - but control and power over decisions is less.

The 1992 EP will be out on Monday 30th of November - available to stream on all major platforms. Pre save link here.

Instagram: @seansimmons

Wide Awake and Dilated - The Dead Freights Release New Indie Disco Anthem 'Stray Dogs' (Single Review)

Band: The Dead Freights

Track: Stray Dogs

Release Date: 30th October 2020

Record Label: Mi7 Records 

Wide awake like a freight train in the night, lead singer Charlie James styles out the new Dead Freights tune surrounded by fire in music video for ‘Stray Dogs’ released 22nd October. The track will be available to officially stream on Friday 30th October on all major platforms. The Dead Freights are a renowned rock'n'roll band on the Southampton music scene, and all for good reason. They have style, charisma, charm and the tunes to match - ‘Stray Dogs’ is no exception.

This track gets me gassed! In fact, ‘Stray Dogs’ is probably their best yet. A filthy tune packed with alt-disco guitar riffs and spoken word, filled with clarity from the off-set, all the way through. Lead singer Charlie James opens with the captivating line of “see if I care, or give a fuck.” - which is my attitude towards 90% of things in life - so they got my attention immediatly. 

The chorus makes this track such a classic indie disco banger, “This wired mind of mine, that you roll like a dice. Wide awake and dilated, afraid of all the time it’s taking up.” With its punchy gutiar riffs, accelerating drums, and narcotic-based lyrics it really is everything an indie dancefloor anthem is made of. 

The poetic imagery created via the lyrics is also incredibly visual which is to be expected from a band like The Dead Freights - a quartet of poetical and musically gifted geniuses. I could definitely picture this track being the intro for a cool new TV series - it reminds me a bit of the Misfits opening track - ‘Echoes’ by The Rapture in that sense. The Dead Freights are a real force to be reckoned with, especially since the release of this complete and utter anthem. An absolutely dirty tune that got me hooked from the first line. I can’t wait to see what else they have stored in the pipeline for the future. 

Watch The Dead Freights ‘Stray Dogs’ music video here:

Dead Freights Social Media Channels: Facebook/ Twitter/ Instagram/ YouTube/ Spotify/ Official Website

Duffy - The Loss of a Living Star

Why did she leave the spotlight? The heartbreaking truth behind Grammy award winning Welsh singer Duffy.

Duffy’s debut album Rockferry (2008) was the first CD I was ever bought, at the age of 11. I loved it that much, I went on to perform a rendition of ‘Mercy’ in a talent competition the same year. I think you always have certain artists you just instantaneously click with and connect to, Duffy has always been one of those for me. She really is a prodigy, her second album Endlessly (2010) was supposedly written in three weeks… three weeks for an entire album?! Although Endlessly didn’t hit off as much as her debut studio album, it still made the cut for the top 10 in the UK, Denmark, Finland, Greece, the Netherlands, Sweden, and Switzerland. Endlessly has also been certified gold in four European countries including in the UK. Not to mention the huge success of her debut - Duffy was doing fairly well for herself to say the least.

Now for those that haven’t heard recent news about Duffy, she’s been through a lot. By a lot, I mean - she’s been raped, drugged, kidnapped, stalked and threatened to be killed - to the point she has had to go completely off-grid and move house five times due to her attacker finding her and continuing to place threats. She even reached a point where she was researching into changing her name and starting a new life elsewhere as someone else. Police are now involved, however there doesn’t seem to be much of an update on the case. Duffy had come out of hiding a few months ago and created a website whereby she felt the need to share her experiences after ten years of silence and isolation to help others understand and appreciate why she seemingly disappeared off the face of the earth without a word. 

Duffy often gets related to Amy Winehouse in her sound, because she has that distinctive soulful twang. Think how big Amy made it, and if Duffy had kept going, how big would she have made it? Her debut album Rockferry (2008) had four huge singles on it, 'Rockferry', 'Mercy', 'Warwick Avenue', and 'Rain on Your Parade' - the album was a humongous success. In fact, the album was that much of a success it went on to be the best-selling album of 2008 in the UK. We had another British female superstar in the line up, who was soon snatched away from the industry and from herself.

On 5th April 2020, Duffy created a website for her story to be read and shared on duffywords.com where she opens up about her endured trauma, “For me, in these hours, I recall the words of Maya Angelou who once said “there is no greater agony than bearing an untold story inside you”, and I share mine with you today.” There’s no sugar coating it, it is a hard story to read, so if you’re not in the best head space - I wouldn’t recommend it. 

Anyone that’s been through trauma, especially the extent of trauma that Duffy endured will know it’s hard to speak out about it, and often you think you’ve done something to deserve it, or that your life will be at risk. In her article she states, “And as I grieved what 'I must have done to invite this into my life', I read something that said, “in the end, it’s never between them and you, it’s always between them and God”. That helped me a lot in the absence of justice.”

The fact that this person has not only ruined her career but literally ruined Duffy’s entire livelihood, living in fear of the next day and what could (potentially) happen. Her thoughts are now swarmed with severe anxiety and paranoia and her escape (music) she no longer relies on. Duffy announced she won’t be releasing any music soon and she just came out of hiding to announce her story, and explain why she’s been gone for so long. 

It’s scary how celebrities can drop off the radar and no one thinks anything of it. Her friends and family didn’t even know. There’s a lot of unanswered questions regarding the drugging and kidnap, but they aren’t what is important. What’s important is that Duffy is now safe, accepting help, going through recovery and hopefully putting herself back together again - piece by piece. Making music seems to be incredibly off the cards for the near future for Duffy, however she hasn’t written it off completely. 

A whim of joy rushed over me when I watched the Kray twins film ‘Legend’(2015) featuring Tom Hardy and heard Duffy’s wonderful distinctive voice. I knew it was her. I googled the cast, and you betcha - it was Duffy. This installed some hope in me that maybe she’s just had a mere hiatus in her career, possibly had a child? And that she’s coming back - soon. But, that wasn’t the case. Silence again, until she announced the news of her incredibly devastating story. 

What right does that person have to completely destroy another person, especially someone who has so much ahead of them and such a great future. Who would have loved to see Amy and Duffy duet together? I would have. Who would’ve loved to see her live, supporting or headlining? She could’ve been rolling in money, reveling in adoration, but instead she resides in complete seclusion and isolation as she aims to hide from those that hurt and tortured her. Duffy was trafficked, drugged, and physically, sexually, and mentally abused by an unknown perpetrator - if this can happen to someone as big as Duffy without anyone batting an eyelid? How many other people have experienced this sort of thing and kept it to themselves, suffering in silence?

She wasn’t cancelled, she didn’t get in any conflict with her record label, she was selling thousands of records, breaking through into mainstream pop and then just like that.. Poof! She vanished. No one questions it. No journalists. Nothing. It’s like she was just a one hit wonder that failed to make it. That couldn’t be further from the truth. 

We lost someone who’s still alive, even right now. That’s the worst way to lose someone, it’s like having a relative with dementia in a way, they’re here but they’re not. Duffy is such a talent and such an amazing, beautiful woman and it truly breaks my heart to know she’s experienced what she has and she feels as though she can’t ever bounce back to her old self, and live her past life before the attack. 

On June 18th she posted a track on her Instagram (her only post) called ‘River in the Sky’ which she says is “For Better Days to Come” and that appears to be the last music we will hear from Duffy for the foreseeable future. It seems as though Duffy has found comfort in the world’s current situation and despite what she’s been through, she can sympathise with the rest of the world and the struggles they’re going through due to what’s going on at the moment. Duffy has seemed to have found solace in opening up about her trauma, and says at the end of the article - “I can now leave this decade behind. Where the past belongs. Hopefully no more “what happened to Duffy" questions, now you know… and I am free.”

Duffy, wherever you are - you are so loved and you will forever be missed. I await upon your return, but I know that isn’t inevitable. I hope you are keeping well and despite it all, keeping your head above the clouds. One day at a time. X

Duffy - the loss of a living star

Ian Brown - 'F.E.A.R' Released On This Day 2001

‘F.E.A.R.’ is the first single from Ian Brown's third solo album, Music of the Spheres. Released on 17th Sept. 2001 - 19 years ago today. The track placed No.13 on the UK Singles Chart and was both a commercial and critical success.

For those who don’t already know, Ian Brown is the ex-frontman of the legendary Mancunian alt-rock band The Stone Roses. After their breakup in 1996, Ian went solo and released his first album Unfinished Monkey Business in 1998. For his third studio album, Music of the Spheres, Brown sought outside production help for the first time. He also toured the US for the first time as a solo artist in support of the album.

The main track off Music of the Spheres is ‘F.E.A.R’. Having been used to the DIY techniques of the 80s and 90s, things had changed by 2001. Brown clocked on to the change allowing him to simply roll with it, he hired songwriter and producer Dave McCracken to help collaborate with him on the album instead of doing it all by himself like his previous work. However, besides getting some help on the music front, F.E.A.R also became Brown’s directorial debut.  It featured footage of the singer slowly riding a bicycle through the busy streets of Soho and Chinatown in London, which was then reversed to give the impression of being ridden backwards. The route followed was from Berwick Street to Gerrard Street.

F.E.A.R was such a success because it displayed Brown’s capabilities and talents as a songwriter - proving his intricate genius. The song would also go on to spell F.E.A.R in every stanza. For example, “[F]or [E]veryman [A] [R]eligion” / “ [F]or [E]verything [A] [R]eason” - the whole song continues in this manner, and each verse forms the acrostic "F.E.A.R."

“Fantastic expectations, amazing revelations. Finding everything and realizing, for everything a reason.”

In an interview with Clash Magazine, Brown indicated that a main influence for ‘F.E.A.R.’ was The Autobiography of Malcolm X, which preached the study of etymology, so that one could have control over people through the use of language."I just found it a better way to amuse myself in a hotel room than watching the porn channel," Brown recalls.  Brown then proceeded to create hundreds of mnemonics from the word "fear".

The lyrical genius that is Ian Brown never ceases to amaze me - he just makes you think on that extra level, every time. Although he’s had some great solo tunes such as, ‘My Star’ (1998), ‘Dolphins Were Monkeys’(1999) and ‘Stellify’ (2009) - F.E.A.R is definitely his best (solo track) so far. Happy anniversary to F.E.A.R - 19 years old today! What a record.

The Pioneer of Reggae and Toots & the Maytals Frontman Frederick ‘Toots’ Hibbert Dies Aged 77

Jamaican reggae pioneer Frederick ‘Toots’ Hibbert has died at the age of 77. The legendary musician fronted the reggae and ska band Toots & the Maytals from the early 1960s. The Toots & the Maytals announced that frontman, Hibbert "passed away peacefully" in Kingston, Jamaica surrounded by his family, on Friday 11th Sept. His death comes just weeks after the release of Got to Be Tough, the band's first full-length album in more than a decade. 

Hibbert is credited with popularising reggae music and even naming the genre - his 1968 single ‘Do the Reggay’ is the first song to use the term and he labelled the genre for the next generation. At the time, the word reggae didn't exist. The music, which was an evolution of ska and rocksteady, had been called blue-beat or boogie-beat until Hibbert intervened.

"The music was there and no-one didn't know what to call it," he told 6 Music.

"And in Jamaica we had a slang - if we're not looking so good, if we're looking raggedy, we'd call it 'streggae'. That's where I took it from.”

Not only did he coin the term Reggae and go on to influence thousands of artists across the world, his talent wasn’t just in his songwriting and musicianship - it was in his voice too - he was an incredible vocalist - so much so he’s made his mark in the Rolling Stones list for top 100 singers of all time hitting number 71 - putting him above other talented singers like Stevie Nicks, BB King, Morrissey and Dolly Parton. 

Breaking through into the global mainstream was helped by some great international acts covering his songs such as Monkey Man (1969) which has been covered by the late Amy Winehouse and ska group, The Specials. However ‘Pressure Drop’(1973) was arguably the song that ultimately made them a worldwide success, and helped to launch the band’s career outside of Jamaica. ‘Pressure Drop’ featured on the soundtrack to the 1972 film ‘The Harder They Come’, which went on to introduce reggae to the rest of the world. This song has been covered often by a variety of artists, most notoriously, The Specials, The Clash and Keith Richards.

1973 was a staple primitive time in the band’s career, as they bounced back from Hibbert’s arrest and released the album ‘Funky Kingston’ which went on to feature some of their most famous hits, such as title track ‘Funky Kingston’, ‘Louie Louie’, and ‘Pressure Drop’. Also, after his brief stint in prison back in 1967 for a minor marijuana offence, Hibbert went on to write perhaps their most well-known hit - ‘54-46 Was My Number’. The song tells the tale of him getting arrested, and his trouble with the policeman. Frederick Hibbert’s ability to storytell, combined with funk-lined ska beats, positive affirmations, and socially conscious lyrics are what made him such an influential legend and led him to create the punk of Jamaica - the genre that is reggae. 

According to The Guardian, in 2012, he laid out his ethos for reggae for Interview magazine, describing his songs as “a message of consolation; a message of salvation. The youth are going to the school and they have to listen to the words. The parents have to listen to the words. God has to listen to the words. So, we have to make it positive. If you sing nursery rhymes, it is nothing. You just blow up tomorrow, and the record dies at the same time. But if you give positive words, that song lives for ever.” - And that is why the ‘old’ music is the gold music.

Celebrity tributes poured in from the likes of Ziggy Marley, UB40, Blondie, The Who, The Selector, Lee Scratch Perry and many more for this well-loved and highly respected artist.

RIP Frederick ‘Toots’ Hibbert, may your memory live on! 

RandL 2021 Line Up: Lack of Female Talent or Blatant Sexism?

After Reading and Leeds Festival announced their headliners and some of the acts, there has been uproar on social media about the lack of representation of female artists. This does beg the question.. Is there a lack of female talent, and that no female acts are worthy of being headliners? Absolutely not. To name a few females that would make incredible headliners, who are active in their music making, staying relevant, and selling records are: Taylor Swift, Dua Lipa, Halsey, Billie Eilish, Florence + the Machine, Paramore, Cardi B, Miley Cyrus, Lady Gaga, Ariana Grande, Nicki Minaj, and Lana Del Ray, could all easily headline R&L - and bring in large, great crowds. 

I mean the line up isn’t exactly great - full stop. There are so many bands/artists that are more worthy of those headline slots in comparison to those who have been given them. Hear me out...

Post Malone is ok… but let’s face it - his last album Hollywood’s Bleeding (2019) was a bit of a flop. Especially in comparison to his first two albums that gave him the success and fame he has now. Catfish and the Bottlemen... great band - in 2015. Catfish are a great slot on a festival because they’re a classic indie band with a few mainstream hits, but they are in no way deserving of a headline slot at Reading and Leeds - especially not in 2021. Same thing as Mr.Malone, great first two albums which got them their success, however Catfish peaked in 2015/2016… and this is for a festival in 2021…I feel like even Stormzy and Liam Gallagher as headlines don’t see fit. The line up is just so out-dated, clearly just like RandL’s political stance.

Some great new music has been brought out in the last 12 months from female artists, such as Taylor Swift’s new Folklore album, Halsey’s Manic, Dua Lipa’s disco album Future Nostalgia, Lady Gaga’s unapologetic pop album Chromatica and Lana Del Ray’s Norman Fucking Rockwell to name a few. These albums have all been, and still are, absolutely huge. 

It’s as though festivals add female artists to the line up just to cover their own back rather than because they actually think they’d be a good act. They tend to see no competition with female artists fighting for the headline slots over male artists, and it’s not to do with a lack of talent or the headliners being ridiculously more successful and on trend than other acts. It is just blatant sexism still being displayed at one of the biggest festivals in the UK in 2020. 

For anyone that’s got any arguments against this, I suggest you look at this list that’s been collated of all the headliners across the past ten years at Reading and Leeds. Like @CiaraW_Media says, “It’s time to acknowledge the sexism in the industry and the lack of representation for non-male artists.” The more we let this happen, the more it will continue to happen. There’s some fierce female competition out there for headline slots in 2020 and yet they’re being ignored and completely disregarded again for someone that made it big three to four years ago and has been practically living under a rock ever since. 

Regardless of gender - the acts should be selected on what the audience wants, and who is trending right now. This line up would’ve suited 2016, but come on … so much more music has been released since, and so many more hot new artists have emerged. To have no females headlining in 2020, the year everyone’s been fighting for equality really does speak volumes for the festival organisers… Read the room... The only positive thing about the line up so far is Doja Cat. Where’s Cardi B? Meg Thee Stallion? Nicki Minaj? Jorja Smith? Come on! 

People (mainly men) will say, “If you don’t like the line-up, then don’t go!” Again, this is just ignoring the problem which will continue if everyone remains quiet about the lack of non-male representation within the headline slots at festivals, and in the music industry as a whole. You might like all of the headliners but it doesn’t deter from the fact the festival clearly isn’t supporting any of the female artists within the industry - even after all these years, and all of these complaints. There’s so much female talent out there at the moment, yet still we can’t have ONE female headliner? It really is pathetic, and incredibly embarrassing on their behalf. The female talent is out there and readily available, but it's just not being chosen. That is the bottom line.

Alex Turner Donates his Fender Stratocaster to Help Rescue UK Independent Grassroot Music Venues

 

Be In With a Chance to Win Alex Turner’s Fender Stratocaster Guitar!

With the pandemic causing humongous financial detriment to the music industry, it’s only right that those who have established their careers, help those that have supported them and helped them on the way up. Lead singer of Arctic Monkeys, Alex Turner is raising money in conjunction with Music Venues Trust and Crowdfunder to help rescue independent grassroot venues across the UK, in particular - The Leadmill in Sheffield. 

Covid-19 has had a huge impact on the stability of the music industry, hundreds of grassroot venues are in danger of closure. What does this mean? This means that those small intimate gigs where you discover your favourite bands, will no longer stand. How are new/small bands supposed to grow and get noticed if there are no more intimate venues for those to play their music? These grassroot venues have helped pretty much every successful band from the UK to have ever existed, they’ve created a gateway for being noticed, and they’ve created communities amongst people that wouldn’t necessarily be in cahoots with one another otherwise.

The Fender Stratocaster that is up for grabs is the guitar Turner used during the first ever Arctic Monkeys gig at The Grapes, Sheffield on June 13th 2003. In order to be in for a chance to win this great piece of indie music memorabilia, entry is £5 and you can enter as many times as you like. The competition is open globally for anyone over the age of 18. The winner will be announced and contacted by Friday 28th August 2020 and the guitar can be shipped anywhere in the world.

Everyone who enters the draw will also gain access to an exclusive viewing of the band’s 2006 performance at Reading Festival. Access to view the performance will be invite only and be available for 24 hours. Everyone who enters will be sent a link two hours before it begins via e-mail, and the viewing will shown at 8:00pm BST on August 26th 2020. 

All funds raised will go to Music Venue Trust to help support the Leadmill and other independent UK music venues. Crowdfunder is also waving its platform fee to ensure every penny gets donated directly to the cause.

To help sustain the UK’s independent grassroot music venues and to be in for a chance to win Alex Turners iconic Fender Stratocaster, click on the link here

Good luck!

S-O-T Fave - Psyence Release New Single ‘Tusk’ *OUT TODAY!!* (Single Review)

**OUT TODAY**

Rising up through the cracks from the glorious city of Stoke-on-Trent, the local favourite alt-rock band, Psyence are back with new tune ‘Tusk’. OUT NOW. The five-piece are becoming seasoned pros at creating well produced, and well put together music and ‘Tusk’ just confirms that. Psyence are for fans of Royal Blood and Nothing but Thieves - so if you like those - you’ll definitely like Psyence. 

Immense talent is displayed throughout the track, not just in the sound of the instruments and vocals but in the production too. The track is alternative rock, with electrifying riffs and hard-hitting drums - a little bit heavy, but not too heavy - a bit grunge-ified if you will. 

My excited brain can’t even begin to imagine seeing this track live, consuming the crowd regardless of venue size. ‘Tusk’ is a song that can work in a 100 cap venue, and also encapsulate thousands on a main stage - which it deserves. This is Psyence. 

If you like the track, go and check out their self-titled debut album Psyence that was released in 2019. Available to stream and buy on all music platforms now. Follow their social media pages: Facebook/ Instagram/ Twitter/ YouTube

Brandy is Back and She Means Business With New Album - B7 (Album Review)

Having released her self-titled debut at the tender age of fifteen, Brandy is back producing music on her own terms since her eight year hiatus - and she means business. Her seventh album B7 was released Friday 31st July. Commonly known for her ‘The Boy Is Mine’ duet ft Monica, Brandy is a true 90s R’n’B icon. Her eight year hiatus stemmed from troubles with her label and a fight for creative control, she then set up her own label and released B7, her first album since 2012’s Two Eleven. “I was able to team up with eOne and create my own imprint, my own label from there, and start the process of creating B7.” Brandy says to Rolling Stone. B7 entails complete creative control, and is an album built on the brink of releasing the music industries chains, breaking out, and doing what YOU want to do. Seasoned artists like Brandy often get to this stage in their career where they revel in pure creative freedom and it is often their most raw and honest work to date. B7 is no exception.

Addressing her absence, in the opening line of the album’s first track, ‘Saving All My Love for You’, a nod to Whitney Houston, she says “Sorry for my tardy, long time I was broken-hearted. Hearted and guarded. A target, god-damn. Can we let me live?” an impressionable powerful opening line. She gives further homage to Whitney in the track quoting she was the GOAT which is a common acronym translating to ‘greatest of all time’ (which she really was), “I’m as solid as a rock without the boat, kinda like the goat, but I ain’t saving all my love.”

Next track, ‘Unconditional Oceans’ applies modern R’n’B tones and is a song based on realising your self worth in the post break up stages of a relationship - reflecting on how you were treated, and never allowing yourself to be treated like that again. Learning the lessons of love. Brandy shows her artistic metamorphosis within this track - and the album as a whole - through her obvious understanding of modern day R’n’B combined with her experience in old school more traditional R’n’B. 

As well as creative control, the album is also heavily based around love. Not just your generic love though, it’s about family love, self love and love in relationships too. ‘Rather Be’, ‘Lucid Dreams’ , ‘Borderline’, ‘No Tomorrow’ ‘Love Again’ and ‘Baby Mama’ are great examples of love displayed in various ways throughout the album.  

‘Borderline’ focus’ on how envy can ruin relationships and the mental attack relationships can create on your health, “I’ll give you this heart of mine, ooh, I’m on the borderline, yeah yeah, oh, oh don’t wanna be schizo this time. Never ever cheat, never lie to me. I’m the most jealous girl in the whole wide world.” 

Some of the album standouts consist of ‘No Tomorrow’ a traditional catchy 00’s R’n’B tune, emphasising on the no guarantee of tomorrow, and keeping loved ones close, “I’m gonna blow your phone up in case there is no tomorrow. And I won’t let you go, like there’s no tomorrow.” 

‘I Am More’ is another standout, it has a bit of a rock edge including the electric guitar into the track throughout. ‘I Am More’ is about self-love in various areas of life, “I love you more than a friend, a friend, my friend. I can’t be the other woman histress or a side piece order.”  The track has great fluidity, and the words flick off Brandy’s tongue proving just how much ‘more’ she is worth, she raps, “Bein’ an original since 1994, ask a snitch, never catch me coming off of a bench playing the six, never catch me in a group singing with some other chicks.” A little dig at the music industry, perhaps? 

Displaying her beautiful vocals the most has to be ‘High Heels’ a track featuring her daughter Sy’Rai, entering with a harmonious vocal trail on the opening, this track showcases Brandy’s full range of abilities, rapping, harmonies, vocal range - the lot. Working alongside her daughter must just have that effect on her. The album includes two more features, one with Daniel Caeser on ‘Love Again’, and ‘Baby Mama’ft Chance the Rapper. ‘Baby Mama’ is about being a single mum and the strength they have acting as both a father and a mother, being self dependent and not needing a man to replace the father figure - but having one because you want one to love. Chance the Rapper raps, “I know it’s hard when your baby momma dont want you, especially if she don’t need you.” 

Closing off the album is the complete serve - ‘Bye Bipolar’. It enters with a piano intro and opens with,  “Bye bye bye bipolar, I don’t really want no more disorder. Pretty boy in love you both shoulders colder. Cause you strung me like thread I was damn near dead. And you fucked with my head like lead russian roulette and I cried and cried and cried and cried, died and died and died alive”. ‘Bye Bipolar’ is absolute genius, and in my opinion is the most passionate and best track on B7. Her voice is so gentle and the vocal trails and harmonies just touch you, along with the twinkling sounds on the assisting piano. Again, this track is about self realisation and self love, and realising your own worth, as Brandy sings, “A flock with so many sheep, a fraud living with me and I see it. One day I woke up and now my love is unsewn, I can see who you really are ‘cause I’m a star. Bye bye bye bipolar.” She playfully sings the last line, “That’s why I lost your ring and you can keep your last name, never had your last name to mine I’m saying never saying never” and she closes the album off with that absolute SERVE. 

The only bugs I have to bare with the album is the fillers. All My Life pt.1 / pt.2 and pt.3 didn’t really do much justice for the album as tracks. With those tracks being around 40 seconds long, they were rather unimpactful as solo tracks - they would have been better suited as an outro for other songs. 

The 15 track album is not a re-brand, but a biographical venture of Brandy’s fight for creative control, her struggles of being a single mother, her emotional experiences and all of the blessings that come with the ‘curses’. K7 is about self-love, self-realisation, self-reflection, and positive infestations. She is free. The shackles have been set loose and Brandy is back. It’s good to have you.

9 Years Since We Lost Music Legend and Icon - Amy Winehouse

As I woke this morning and went on to social media, it came to my attention that it’s been nine years since the passing of soul legend Amy Winehouse. Winehouse had such a humongous impact on music all across the world, making her stamp with her distinctive jazz vocals and heart wrenching songwriting skills. She got lost in the 27 club somewhere, amongst Brian Jones, Kurt Cobain, Jim Morrison and Jimi Hendrix to name a few. For those that don’t know, the 27 club is a collection of popular musicians, actors and artists that passed away at the age of 27.

I remember the media around the time of her passing and the drugs were still brought up a lot, but what was the root cause to her drug and alcohol abuse? The media. Amy was poisoned by the papz, she could not catch a break. Her escape from reality just unfortunately happened to be getting absolutely shit faced; whether that be with alcohol, drugs, or both. Towards the end of it all, she was rocking up to her slots on stage absolutely wasted falling off the stage, unable to even sing - let alone perform - but didn’t this show just how damaged she was? Did no one step aside and think for a moment “why does she feel the need to get into this state 24/7?” Amy needed time away from the spotlight, she needed a break. She needed time to just be herself for a second, to be that playful and bubbly young woman she was before. Unfortunately her hedonistic antics fueled by drugs and alcohol was what lead to her getting even more attention from the press, she was fighting a seemingly losing battle.

At the start of her career Amy brought out Frank in 2003, and really set the bar for female solo artists on the UK scene at the time. Frank climbed to number 13 in the UK charts, and also made it into the rest of the charts across the world too - but little did Amy know - this was just the beginning. Winehouse then brought out the absolute musical masterpiece that is Back to Black in 2006. Back to Black was Amy’s second and final album, and as much as I hate to say it - what an album to go out on. The album was based around her toxic experiences with her then ex-boyfriend Blake Fielder, and the emotional whirlwind she endured during their relationship. Think ‘You Know I'm No Good’, where she absolutely pours her heart out, “I cried for you on the kitchen floor” - although the relationship was rather short - it was fiery, it wasn’t good for her, and it was incredibly emotional - but that makes for a great album though, doesn’t it? Amy poured her feelings out on to a piece of paper and collated them to create not just a song, but an entire f*cking album. That album soon turned out to be one of the best-selling albums in UK history.

Amy had a huge impact on me as a kid. I was born in ‘98 so when she brought out Back to Black in 2006 I would have been around eight or nine at the time. That eight or nine year old felt her heartbreak, she felt what it was like to fall in love and be spiked by its thorns, only to be ripped apart. Amy’s voice would, and still does, send shivers all up my spine and the goosebumps and hairs on my arms erect. The album is completely faultless, there’s not a single song I skip, no matter how many times I’ve listened to it, or how many years it’s been. I’m sure a lot of other people out there can relate - no matter where in the world they’re from. Looking back on it, Amy Winehouse was f*cking massive, absolutely huge, all across the world - everyone knew who she was. She was known for not only her music but her look too, she was edgy and completely unforgettable.

Amy’s artistry was influenced by so many genres such as; ska, reggae, rnb, soul, jazz, rock and pop - it was incredibly evident in her work & she combined them so smoothly together creating such a distinctive sound, that you’d recognise a Winehouse song even if you hadn’t heard it before. She covered a variety of songs which featured those influences, and made it unmistakenly her own, such as her cover of reggae and ska tracks, Toots and the Maytals, ‘Monkey Man’ (1968), and ‘You’re Wondering Now’ by The Skatalites (1960) which was also notoriously covered by The Specials in in 1979.

Her soul influences are evident in her homage to Johnny Nash’s, ‘Cupid’ (1968),  Ruby and the Romantics, ‘Our Day Will Come’ (1963), and The Shirelles, ‘Will You Still Love Me Tomorrow’ (1960). Not to forget Amy’s most famous cover, her rendition of ‘Valerie’ originally by the rock band The Zutons (2006). Not many artists can own any song and make it their own so much, that you think that you’re listening to the original - Amy did that every time she covered a track. No one was, or is, doing it like Winehouse did it.  As shown in the dates of the songs she covered, she was hugely influenced by the 60s too, it was apparent not only in her music but her style also - sporting the huge beehive and cat winged eyeliner on a daily basis - no matter the occasion.

It’s been a tough nine years without her glorious presence and talent on the UK music scene. Amy really was one of the biggest talents in the world, and she did that off the back of two albums. Her legacy will never be forgotten, and she will most definitely be written about in the history books in years to come. When you think of Amy, make sure it’s the positive things. She was such a talent, a great songwriter, a fantastic singer and performer and a really wonderful selfless woman who cared endlessly for her friends and those close to her. Remember the Amy that would light up a room with her smile and silence it with her voice.

RIP

We love you Amy.

Sunstinger Release New Track 'Nothing's Alright, Leave Me Alone' (Single Review)

Releasing new single ‘Nothing’s Alright, Leave Me Alone’ on July 24th is alt-rock Fife four-piece Sunstinger. Their new track has a combination of psychedelia, shoegaze and dream-pop influences, making it a stark contrast from previous release ‘The Void’. ‘The Void’ was released on May 1st and has an industrial sound to it, making the sound a lot heavier in comparison to new release ‘Nothing’s Alright, Leave Me Alone’.

Their new track has a distinct shoegaze sound whilst combined with psychedelic influences which are evident in both the song and its hippy-fied lyrics. The backing vocals and echoing sound of lead singer Taylor Wright’s voice really adds to the psychedelic shoegaze sound they were aiming for within the track.

There is also a Britpop twang to the song, which you hear in the immediate beginning. At the start, it sounds like it could be the introduction to an Oasis track, but that soon changes when the vocals enter, however the 90s pop sound still remains apparent throughout. ‘Nothings Alright, Leave Me Alone’ is a modern day psychedelic shoegaze tune that you want to be hearing on a sunny day lying down in the park on the grass, surrounded by daisies - it’s that kinda vibe.

OUT ON JULY 24TH 'Nothing’s Alright, Leave Me Alone' will be released on all major streaming platforms. To keep updated with Sunstinger you can follow their social media platforms here: Facebook /  Twitter / Instagram / YouTube 

Kwasi Manni Releases 'Lets Jam' ft Jasmine (Single Review)

Bringing summer to you is new track, ‘Lets Jam’ from Kwasi Manni ft Jasmine set to be released on July 24th. Kwasi is originally from Ghana, West Africa and is now based in London, however his roots play a big part within his music. Kwasi combines pop undertones with afro beats and reggae to create a fresh crisp modern sound.

Combining old and new influences, Kwasi has mastered the sound for the track which ultimately creates afro beat dance hall vibes, with a twist of reggae. The collaboration with vocalist Jasmine creates a softer sound for the track which helps radiate the desired summer spirit throughout ‘Lets Jam’.

‘Lets Jam’ is full of energy and full of positive vibes. The track is very visual and creates a vision of the sun being high up in the sky, on the beach, having a dance with all of your friends without a care in the world. With the worlds current circumstances, that’s the exact sort of place you want your mind to go. Energy is contagious, and Kwasi and Jasmine remind us of this within ‘Lets Jam’.

‘Lets Jam’ will be available to stream on all major platforms from July 24th, to pre-save the track, click on this link . To keep updated with Kwasi, follow his social media platforms - Facebook/ Instagram/ Twitter

The Streets Release 'None of Us Are Getting Out of This Life Alive' (Album Review)

After almost a decade since their last album release, Computers and Blues (2011), Birmingham’s The Streets are back with a new 12-track feature album, None of Us Are Getting Out of This Life Alive, released on July 10th. The mixtape contains features with an eclectic variety of talent, ranging from Tame Impala to upcoming rappers and artists like Ms.Banks and Greentea Peng. Skinner got the features in true DIY style by simply messaging his fave upcoming stars on Instagram, to collaborate with.

However, now a settled married family man, you would think what’s he going to talk about now? After a near ten year silence with making an album, he can’t exactly rap about narcotic use, drinking copious amounts of alcohol, raving, life on the dole, and basically the life of a LAD - can he?

Opening track, ‘Call My Phone Thinking I’m Doing Nothing Better’ ft Tame Impala is one of my favourites on the album. Combined with Kevin Parker’s angelic psychedelic voice, it creates a stark contrast which surprisingly compliments the track. Skinner raps about modern technology and trying to get through to people in the digital age, and how, at times it can be rather… invasive. He goes back to this topic on ‘Phone Is Always In My Hand’ ft Dapz on the Map - “my phone is always in my hand, if you think i’m ignoring you, I am.” Amen Skinner. The 21st century digital reality struggles and communication battles are real - if someone is ignoring you, it’s probably done consciously (but they also don’t owe you anything), “You’re ignoring me but you’re watching my stories” relationships and friendships summed up in 2020. How quick and easy it is to get in touch with someone now a days really does question somewhat a privacy issue, why do people feel so entitled to invade your space without asking?

Title track, ‘None of Us Are Getting Out of This Life Alive’ ft. Idles is a punk track, combined with pirate radio beats, Skinner opens the track shouting in punk angst, “I don’t like my country, it’s more of an addiction.” “None of us are getting out of this life alive” Skinner constantly repeats emphasising on the reality of the rat race, and the only thing in life that is guaranteed… death.

Next track, ‘I Wish You Loved You as Much as You Love Him’ ft. Donae’o & Greentea Peng is also one of my favourite’s off the mixtape, a garage classic. Greentea Peng really makes the track, this was the first time I’ve ever heard her, so thanks for introducing me Mike.

In ‘The Poison I Take Hoping You Will Suffer’ ft Oscar #Worldpeace Mike says, “There’s several ways that this is gonna go bad. The devil says he misses me and wants me back. Me and you are like a boxset that I wish I forgot and watched again.” Is this conflicting two minds between Skinner’s old and current life? The devil being his past life?  “I told you I’d come along for the jokes but that was two hours ago, I was younger back then, I was full of hope.”

The struggles of the working class, and the poorer side of society are spoken of in ‘Falling Down’ ft Kah Baker, it enters with a piano intro, with a slow distorted garage beat over the top, “But see me cash flow’s a travesty, the reason why I’m nickin these bag of peas, oi oi oi.” The cut throat brutal honesty which shines through Skinner’s work is why so many people are drawn to him. There really aren’t many artists out there like him in that sense, that can actually relate. “Everyone who comes into your life, is a blessing or a schooling.” / “When you fail they rejoice, falling down is an accident - staying down is a choice.”

Second to last on the mixtape is the song I had been waiting for, the (somewhat) paradox of the album, ‘Conspiracy Theory Freestyle’ ft Rob Harvey. Bringing The Music ex-frontman, Rob, in full time with The Streets is one of the best decisions Skinner has made. An incredible vocalist, songwriter and musician. Harvey and Skinner have collabed previously on co-written tracks,‘Going Through Hell’ and ‘Soldiers’ off the last album Computers and Blues (2011). I find that both artists are very raw and emotive, so combined it makes for an incredibly powerful and real track, “We’re not gonna live this way (Where now do we go from here?) we’ve got to stand up and change.” / “The world is round to stop you seeing too far down the road, unless of course the world is incredibly flat. But if you want you a conspiracy, there’s an edible for that.”

Alongside ‘I Wish You Loved You as Much as You Love Him‘, the other tune you’ve probably been hearing on the radio as of late is closing track, ‘Take Me As I Am’ ft Chris Lorenzo - and it’s for good reason. One of the other top tunes on the mixtape. The best song to close off with - end the album on a high. “She said take me as I am or watch me as I go”  A proper upbeat dirty garage tune.

A DIY mixtape mastered to true traditional Streets style, keeping them living up to their name. The garage gods. This album is somewhat a nostalgic reminiscent deja vu of their debut Original Pirate Material (2002) of which they took the music industry by storm. Skinner delves into more modern matters on this album in comparison to focusing on a young twenty somethings life, like technology for example. A great project released, but for me - it still doesn’t compare to A Grand Don’t Come For Free (2004) - but that’s just me.

Kasabian Frontman Tom Meighan Quits Band Over ‘Personal Issues’

Creator: Venla Shalin /Credit: Redferns /Copyright: 2016 Venla Shalin

British electronic rock band Kasabian from Leicester have announced this morning in an Instagram and Twitter post that, “Tom Meighan is stepping down from Kasabian by mutual consent.” The post went on to vaguely expand, “Tom has struggled with personal issues that have affected his behaviour for quite some time and now wants to concentrate all of his energies on getting his life back on track. We will not be commenting further.”

Something just doesn’t sit right with me about Kasabian’s post of Tom’s somewhat resignation. For such a hugely successful band, losing their front man with whom they founded the band back in 1997 (regardless of the reason), you’d think Kasabian would’ve written a bigger post/ a homage to Tom and everything he has done within his time being the frontman of Kasabian. It just sort of disregards his leave and pins it on mental health/ personal issues. No doubt, it probably plays a part of why he felt he needed a break from the band, however it sounds like there’s some animosity, some bitterness shining throughout Kasabian’s post. I sincerely hope that is not the case. Regardless, I hope Tom is ok and will come back around when he’s ready and Kasabian can be full again.

The band - whose line-up now consists of Pizzorno, Edwards and drummer Ian Matthews - have not revealed whether they plan to replace Meighan or continue as a trio.

Life As It Stands: 22 Years on Earth

Life as it stands. Today is my 22nd birthday, June 25th. In the 22 years I’ve been alive I’ve been through a lot and I’ve seen a lot. Not necessarily all bad stuff, but it’s all helped to shape me nonetheless.

Music has always played a big part in my life, from singing Andrea Bocelli/ Guns’n’Roses/ Bon Jovi and rapping to Notorious BIG in the van with my dad when I was 6 or 7, to getting a degree in Popular Music Journalism by the time I had just turned 21. Whether it was singing, dancing, listening to, or writing/reading about music - I’ve always had a deep rooted connection to it. Music is a form of escapism, it lets you create your own reality for that short moment of a song. For 3-4 minutes you’re lost in the music and have forgotten about your struggles and you just submerge in that moment.

I used to go to Stagecoach from around the ages of 8-11. Stagecoach was a performing arts school where you learn to sing, dance, and act. Musical theatre itself I was never really into, I just enjoyed being able to perform. I didn’t want to perform in front of anyone, I just liked the idea of being capable to dance act and sing. It’s a skill I had always admired, and I still do. Nothing is as easy as it seems, and the performance industry is cut throat - even when you’re from the ages of 8-11.

Having had this experience performing I know just how difficult it is to perform on stage, and perform perfectly. The pressure of the audience added on to the pressure of your teachers and your peers is especially daunting. That’s why I have such a huge respect for performers, because it’s difficult in more ways than you could even imagine. My desire was to never be a performer, however I absolutely loved watching people perform. Whether that was playing an instrument, singing, dancing, miming, acting, or even comedians - I just love it!

When I finished school after my GCSE’s I honestly had no idea what I wanted to do. I enjoyed Expressive Arts (a contemporary performance arts subject) but colleges didn’t appear to have that as an option - plus it wasn’t the career path I pictured myself going down. When I went to apply for my a-levels I just thought of money, and what job will get me the most money? Business! I got a B in business studies GCSE so why not? For my a-levels I picked, economics, business studies, accounting and a BTEC in musical theatre (to help keep me sane from all of the academic subjects). Although I’m a creative, my family had always pictured me as an academic, so for my younger years - that is what I strived for.

However I soon came to realise that academic subjects just aren’t my thing. I can retain information, but I struggle to apply it academically. I actually really enjoyed economics, and I understood a lot of it but unfortunately I just couldn’t apply my knowledge to the questions asked. This led me to believe that I was just… stupid? Why couldn’t I get good grades when I knew the information? I rarely looked forward to my academic classes, my favourite class of the week was dance on a Tuesday.

I dropped out of accounting in first year as I was persistently failing the subject. I can’t fully blame my lecturers though, as I found it difficult and boring so I had no interest when in class - which lead me to consistently fail. Then my progress coach at college suggested taking a creative path, as she knew about my frustrations with my a-level topics, and I stated my lack of desire to perform for a living. She then suggested perhaps setting up a blog and writing about music, as that’s all I tended to talk about to my progress coach. So I did it. And here I am five years later still writing the same blog I created when I was 16.

That talk changed my life.

God knows where I would be or what I would be doing now if it wasn’t for that woman inspiring a light bulb moment in me. From the first review I had written (Noel Gallagher’s High Flying Birds - Chasing Yesterday Deluxe Album), I knew this is what I saw myself doing for the rest of my life. I didn’t do that well at college, I left with a-levels of E in economics, a C in business studies and a merit in my musical theatre BTEC. However, because of my blog that I’d been writing for around 18 months at that point, I got offered an unconditional offer at university. This meant regardless of my grades - they would’ve accepted me into their university. I didn’t pick that university to study, and I actually only realised about the unconditional offer on results day, but that’s how I knew I was choosing the right path. I must’ve been doing something right? (For once in my life)

So I didn’t get into my original offer, BIMM Manchester, as I had always dreamed of living in Manchester, and at 18 I instead ended up moving half way across the country, out of Stoke-on-Trent and down to Southampton. About 3-4 hours away. I met some amazing people and talented individuals around the south coast and London area from making that bold move and learnt so much about myself, others, the world and how both I and other people view the world. Although the music journalism industry was dying by the end of my degree, I still aspire to do it. We brought vinyl back now lets bring back print!

My Manchester ‘dream’ came true at 21 when I made the move after uni, but it wasn’t quite as planned. Getting a job seemed near enough impossible, let alone trying to get a creative (paid) job. But now I’m 22, I’m spending my birthday back in my uni city of Southampton with my best friend and I realise perhaps your dreams aren’t all you desire to be. I have goals and ambitions but I let life take me where it wants. I had no reason to go to Manchester, other than the desire to live in the city - everything else I wanted to move there for was already here in Southampton.

At the age of 22 I feel so much pressure to have my life on track. To have a stable job, a stable income, a roof over my head, a social circle, a love interest, hit career goals. But the truth is, it doesn’t matter where you’re heading as long as you’re heading somewhere. In 22 years I have achieved so much that I do not credit myself for. I have a degree, I’ve ran my own events business, I write for four publications, I have lived independently in other cities for the past four years, I’ve had multiple jobs, I'm writing a book, I’ve gone on holiday with my friends and I’ve truly enjoyed life despite the downs that come with the highs.

Here’s to another 22 years of riding the wave that is life!

6ix9ine and Akon Team Up for a 'Locked Up Part 2'

New York Daily News/Jefferson Siegal via Getty Images

I think I'll just stick to listening to the original, thanks.

Unexpected duo Tekashi 6ix9ine and Akon team up for ‘Locked Up’ sequel. 'Locked Up Part 2' comes 16 years after the original in 2004.

On June 7th, 6ix9ine, real name Daniel Hernandez, shared a clip of himself and Akon listening back to the record on Instagram. “LOCKED UP PART 2 IM ON ALBUM MODE,” he captioned the clip. “THIS ALBUM GOING CRAZYYYYYYY. @akon”

Tekashi 6ix9ine was sentenced to two years in prison for crimes he carried out while he was a member of a violent gang. The BBC states, “The 23-year-old initially denied the charges but entered a plea bargain, giving evidence against other gang members in order to get a reduced sentence. The rapper had been facing a minimum of 47 years and a maximum of life in prison but the plea bargain means he could be released around November 2020.” But as we all know, that didn’t last long - and he’s now out, producing music.

 He testified against former members of Nine Trey Gangsta Bloods. The offences 6ix9ine was charged with include racketeering, carrying a firearm, assault with a dangerous weapon, and conspiracy murder charges.

The BBC also clarifies, “Nine Trey Bloods committed robberies, dealt drugs and were violent against rivals and each other according to their testimonies. 6ix9ine gave information on Anthony Ellison and Aljermiah Mack and both men have since been convicted. Ellison was also found guilty of kidnapping 6ix9ine, maiming and assault - while Mack was also found guilty on drug dealing charges.”

Lets not also forget about his indecent sexual assault scandal on a minor (who was 13!). Where he was arrested and charged with the use of a child in a sexual performance. He pleaded  guilty to one felony count of use of a child in a sexual performance. According to Vulture, “the terms of his plea deal state that in the time until his sentencing (originally meant for October 2017, but since continuously postponed until October 2018), he is to complete one year of probation, 300 hours of community service, two years of mental health treatment, not to share “sexually explicit or violent images featuring women/children” to social media, and write an apology letter to the victim and her family — all of which appear to have since been completed.”

The 24-year-old rainbow-haired rapper, was recently granted an early prison release amid the coronavirus pandemic. To which he then took to social media to share a clip of himself rapping new lyrics over the beat of Akon's 2004 song "Locked Up." (With Akon next to him) - I think I’ll just stick to listening to the original, thanks.

Billy Nomates Releases New Single 'FNP' & She's On Fire

The Burning World is Ours & Billy Nomates Is On Fire

Billy Nomates...  Why am I writing about her? Because she’s f*cking brilliant - that’s why. This modern punk lyrical genius surrounds us with her views on the post brexit ideal, the struggles of surviving on minimum wage, working a dead end job and how the world couldn’t favour the working class any less. We work hard, really hard, only for the outcome to be shunned by a silver spooned upmarket bigot.

“Well I sleep on the floor of a room I just can’t afford/ For a job that I just don’t want/ Cus I was born with a fork, not a spoon/ And things fall through, life is too expensive”

When interviewed by Fred Perry, they asked “Which subcultures have influenced you?” to which Billy replied, “I like Punk morals, but I have always loved the Northern Soul movement. I love its raw energy and relentlessness.”

Both of these genres harbor an essence within the track throughout different ways. 'FNP' which was released yesterday, has a very punk attitude about it but mixed with a soul groove which adds the need to dance - something of which Billy does a lot of in the music video.

Prior to the FNP release, Billy released ‘No’ - an empowering track about defying the government, gender stereotypes, female sexuality and your right to say ‘no’.  “No is a power any time, any place,” sings Billy Nomates.

Inspired to start writing again after watching Sleaford Mods (early) 2019 gig in Southampton, she recorded ‘No’ alone in her bedroom. Billy Nomates is quite genuinely one of the best bedroom artists I’ve ever come across, and if you haven’t heard of her before - now is your chance.

FNP (standing for Forgotten Normal People) was written during a period of division within the UK, both politically and economically. The song vents the frustrations of being born into the latter, while fighting back against the right wing injustices.

“Forgotten Normal People / Yeah we ain’t all born equal / Well the burning world is ours, and I’m on fire.”

The song has a lo-fi production over drum beats and a guitar strum, which highlights the lyrics rather than the music - which is exactly what you want with an artist like Billy Nomates. Billy Nomates is an outspoken force to be reckoned with. She’s unapologetically herself which is beautiful to see in a world that is so obsessed and encased in a dire strive for the need for perfection. She’s passionate, she’s honest, and she wears her frustrations and emotions on her sleeve which creates such a raw, unique sense throughout her music,

“So I bow down disgracefully and now the only thing that keeps me going is the fact that if I can’t own nothing - then nothing can own me.”

According to Clash Magazine, she explains… “All the good stuff was happening without me, and it was because good stuff was for people with money. The song’s about anyone and everyone that feels forgotten, unheard, left behind and angry. We're the majority.”

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Taylor Swift Creates Fake Band to Get Revenge on Scooter Braun via 'Killing Eve'

Photo Credit: Chelsea Lauren/ Shutterstock

As a 2010 Taylor Swift once said, “there is nothing I do better than revenge” and 2020 Taylor is no different.  After Taylor’s feud with ex manager Scooter Braun, she has cunningly found a way to promote her music without running it past him whatsoever. The crafty move is the latest in a very public back and forth between her and Scooter Braun, who last year purchased her label Big Machine Records. It means he has control over her whole back catalogue up until her latest album Lover, which was released via Republic Records last year.

Taylor currently has no rights over her music released before Lover, meaning that she also gets no royalties, however she’s since realised that you don’t need the labels permission, or in this case - Scooters - to cover a song.

Swift’s fans came to Twitter to shed light of what she had cleverly done. A cover of Swift’s ‘Look What You Made Me Do’ featured on the most recent episode of BBC drama Killing Eve - but it was by a band called Jack Leopards and the Dolphin Club. Now this is where it gets interesting. The band didn’t even exist until Sunday evening, which was the day when the show aired in the US. However, when we delve deeper, the familiar name, Nils Sjoberg popped up as a producer on the track. This name appeared as a writer on Calvin Harris and Rihanna’s 2016 hit ‘This Is What You Came For’ and was later confirmed to be Taylor.

The members of the band also include Taylor’s brother, Austin, Jack Antonoff and a few other people who also have writing credits on the original 'LWYMMD' 2017 track. The band name is formed from Jack Antonoff’s first name and Austin’s Twitter handle of The Dolphin Club. Taylor has also previously said that dolphins are her spirit animal and fans believe the leopard reference in the name is a nod to her animal-print outfit from the original video.

Clearly pleased with her work, she shared the track on Twitter and captioned it: “Very stoked about this cover of LWYMMD on Killing Eve by Jack Leopards & The ­Dolphin Club!!”